Khrusshchova and Khovanskaya Dmitry Levitsky (Levitzky) (1735-1822)
Dmitry Levitsky – Khrusshchova and Khovanskaya
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Painter: Dmitry Levitsky (Levitzky)
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The portrait of E. N. Khrushchova and E. N. Khovanskaya is one of a whole series of paintings devoted to depicting the lives of the noble maidens of the Smolny Institute. This educational institution united under its arches the best girls of St. Petersburg and Russia. The canvases are known under the name "Smolyan girls". All the masterpieces were painted personally at the will of Empress Catherine II. The portrait was also known as "The Caprices of Love, or Nineteen at Court".
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Description of the painting by Dmitry Levitsky "Portrait of E. N. Khrushchova and E. N. Khovanskaya."
The portrait of E. N. Khrushchova and E. N. Khovanskaya is one of a whole series of paintings devoted to depicting the lives of the noble maidens of the Smolny Institute. This educational institution united under its arches the best girls of St. Petersburg and Russia. The canvases are known under the name "Smolyan girls". All the masterpieces were painted personally at the will of Empress Catherine II.
The portrait was also known as "The Caprices of Love, or Nineteen at Court". This title arose for a reason. Indeed, the canvas reflects two charming young girls, who are practically theatrical game. Catherine Khrushcheva poses as a handsome young man who shows his attention to his lady of the heart. The fragile Ekaterina Khovanskaya looks at the "suitor" with timid tenderness. Their poses are somewhat pompous and unnatural, but this gives the picture a special chic and charm.
The canvas is very meticulously done, detailing even small elements of the girls’ clothes. Every fold on Khovanskaya’s dress and every crease on Khrushcheva’s coat is drawn. The image is executed in calm colors. The painting gives a sense of peace and quiet joy. The girls smile at each other warmly and sincerely. The shyness, innocence and grace of the young ladies is mesmerizing.
In the future, both noble women will brilliantly finish their studies and marry well. Catherine Khrushcheva will receive a special mark of her knowledge from the ruler of Sweden, Gustav the Third - he will give her jewelry. Catherine Khovanskaya will finish her studies with a personal commendation from Empress Catherine the Second.
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The woman stands adjacent to him, her posture more restrained. She is adorned in a lavish gown of orange and white, with delicate lace detailing at the sleeves and neckline. A high coiffure, ornamented with ribbons, frames her face. Her gaze appears directed downwards, suggesting either modesty or perhaps an attempt to conceal her reaction to the man’s gesture. The soft lighting highlights the textures of their clothing and skin tones, contributing to a sense of opulence.
The background is rendered in muted greens and browns, creating depth without drawing attention away from the central figures. This deliberate blurring allows for a focus on the interaction between them.
Subtleties within the painting suggest a complex dynamic beyond simple companionship. The man’s gesture, while seemingly innocuous, carries an element of dominance or teasing. It is difficult to ascertain whether this is playful banter or something more pointed. The womans averted gaze and restrained posture could be interpreted as either shyness or discomfort, hinting at a power imbalance within their relationship.
The elaborate attire of both figures indicates a high social standing, suggesting that the scene may depict members of the aristocracy. The overall impression is one of carefully constructed elegance, masking potentially more nuanced emotions and relationships. The artist has skillfully employed gesture, posture, and lighting to create an atmosphere of intrigue and subtle tension within what appears at first glance to be a straightforward portrait.